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French Typographic Patrimony, Conservation and Teaching

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French Typographic Patrimony, Conservation and Teaching French Typographic Patrimony, Conservation and Teaching Christian Paput Cabinet des Poinçons Imprimerie Nationale [email protected] http://www.imprimerienationale.fr Abstract Presentation of the Conservatory of Punches, its content and its activities. Punchcutting today, its usefulness, its future, its developments, for the “Imprimerie nationale” as well as in the framework of the trade of typography. Practical and research possibilities of the different elements that com- pose its collections. What can be done today in hopes of saving this patrimony and the knowledge that resides there. Résumé La gravure du poinçon typographique aujourd’hui, son utilité, son avenir, ses développements, à l’Imprimerie nationale ainsi que les pratiques possibles dans le cadre privé de l’exercice des mé- tiers de la typographie. Les possibilités d’utilisation ou de recherche des différentes pièces qui com- posent ses collections. Comment peut-on aujourd’hui espérer sauver ce patrimoine et les savoir-faire qui s’y rattachent. Introduction a work, ensures its protection and security, and prevents against any possible sale of all or any part of this collec- The Conservatory of Punches is the nucleus of the tion. French National Printing House (Imprimerie nationale — IN). There are two punchcutters at the IN, Nelly Gable The oldest punches at the Conservatory and myself. This punchcutting workshop (creation, restoration) The collection of western typographic punches is well is also the place where the IN’s engraving collections are known through the famous lineage of Garamont, Grand- held. The collection consists of over 500,000 items; a jean, Luce, Didot, Marcellin-Legrand, Jaugeon and simplified inventory: Gauthier. But many other lesser-known characters are • 230,000 steel punches (the earliest examples date also in use at the IN, for example, calligraphic charac- back to François 1st) employed to print our own IN ter punches of “ronde”, “coulée” and “bâtarde”, car- publications; tography signs, music signs, and chemical and mathe- • 28,000 steel engraved die-stamps (for medals); matical symbols. The Conservatory of Punches houses • 14,000 steel punches for printing of musical scores those as well as punches by Jacquemin, a certain number from engraved plates; of Bodoni punches, some Gothic punches engraved for Arthur Christian, director in 1906, which bear his name, • 224,000 Chinese wood-engraved ideograms; etc. • 15,000 wood-engraved types for poster printing; • This general listing of the material, which does not 1,300 wood-engraved blocks for book illustration; claim to be exhaustive, is almost complete when one con- • 3,000 copper-engraved plates for book illustration; siders the Oriental collection belonging to the Conserva- • and 2,500 gold-blocking tools. tory of Punches, including the first wood-engraved Chi- In 1946, Raymond Blanchot, director of the IN, nese types created under the direction of Fourmont, on had the typographic punch collection listed as a “Histor- the order of the Regent between 1723 to 1730, as well ical Monument”, and Christian Paput, your modest en- as characters as varied as Hebrew, Arabic, Telugu, Na- graver servant to the Conservatory of Punches, had this gari, Cuneiform, etc. These characters, mainly engraved classification extended in 1994 to all of the punches and during the course of the 19th century, constitute a trea- engraved material found since 1946, including all the en- sure whose value cannot be calculated, relating to a wide graved coins belonging to the IN. range of wholly different cultures. Today, seventy lan- The classification “Historical Monument” by the guages are represented in one hundred different forms in French Ministry of the Culture registers a collection or this collection. TUGboat, Volume 24 (2003), No. 3 — Proceedings of EuroTEX 2003 311 Christian Paput Since the 1980s and 1990s, there have been many casion, borrowed a number of historical items from developments. the IN. First, the restitution of the last remaining punches • More recently, we have had the opportunity to in- of the Peignot collection that had been bequeathed to crease our collections from donations and, whenever the Conservatory of Punches by the Haas Switzerland possible (we have no special budget for this pur- Typefoundry. Subsequently, Neufville Typefoundry pose), we have also bought historical material. Barcelona donated types to the Conservatory of Punches. • Study and experimentation (through lack of time) of Punches of the company Plon-Nourry have also been traditional techniques — such as hand-composing, recovered; these are essentially “decorative vignettes”. music engraving, printing and casting — is under- This was followed by the purchase of the Tanturri Work- taken whenever possible, to preserve a dying craft. shop, which has enriched our collections with punches of • music, as well as with the complete set of tools required We have created and we continue to increase a li- for this type of engraving and printing. brary of type specimens, thanks to our suppliers and contacts with the trade. • Passing on of our knowledge of engraving is some- Various productions of the French National times dispensed at the Conservatory of Punches Printing House, particularly of the Conservatory through internships and organized visits. Approxi- mately one trainee per year has been received in our A collection of books has been published by the IN. All workshop since 1989. are composed by hand from metal types. A workshop is supported, specializing in producing • The creative side to our work, apart from the cre- artists’ books and original prints, and also catering to the ation of the typeface “Gauthier” in the 1980s, is needs of other publishers, in the fields of lithography, presented by the engraving of characters missing etching, engraving and collotype. It is also in this work- from ancient fonts; it is especially evident lately shop that letterpress printing is practised. through various projects and creations (character This is why it is the mission of the Conservatory of “Humane” and expressive vignettes). Punches to preserve typographic punches in perfect con- • Through my work as lecturer at École Estienne, I dition, suitable for supplying characters for printing. pass on my knowledge of the history of handwriting In practical terms, the composing workshop orders and typography. its supply of characters from the typefoundry. The • Inventories of our collections have been undertaken foundry casts type according to the needs of the compos- to allow the Historical Monument classification. itors using the matrices in its extensive type library, as Today these inventories need to be specified qual- long as the condition of the actual matrix permits. Oth- itatively to be able to be properly exploitable. erwise the request goes back through the system of pro- duction to the Conservatory of Punches which supplies In a few lines, I trace the present situation of the the original punch necessary for the restriking of the de- Conservatory of Punches. We know that the French Na- fective matrix. Where a punch is damaged, it is com- tional Printing House must move; for this reason, over pletely recut, identical to the original, using the time- the last six months we have resumed collating all of the honoured methods passed down to us by our forebears. engraving collections in order to reference and prepare This is the restoration sector of our activity. them for transportation to a new installation site. The The Conservatory of Punches today pursues several collection should go into a workshop-museum at Choisy- aims in order to show its worth, and build its archive out- le-Roi in the months to come. side of the employment of these hand-engraved pieces: I have obtained for this preparation the services of an ex-student from École Estienne, qualified in engrav- • We participate in various exhibitions, in France and ing and etching. He will assist me until June 2003, then abroad, also loaning material. Notably, we have he will stay with the Conservatory of Punches during lent punches to the Seville Universal Exhibition as his training in the art of typographic punchcutting (three well as for a display accompanying a conference in years are envisaged). This training is possible thanks to Athens. Nearer to home, the Didot exhibition al- the action of the Ministry of Culture, in the context of lowed us to present a selection of punches, while the scheme of “Maîtres d’Art”, initiated by them, to an exhibition about Lebanon showed a composition safeguard crafts. of classic Phoenician in lead type. The Print Mu- Thus, a young engraver is allowed the chance to ob- seum of Lyon organized an exhibition to celebrate tain rare skills in the area of typography which he can use the three hundred year anniversary of the first uti- in his future profession, which, for him, seems to be the lization of the “Romain du Roi” and, for this oc- creation of handmade artist’s books. 312 TUGboat, Volume 24 (2003), No. 3 — Proceedings of EuroTEX 2003 French Typographic Patrimony, Conservation and Teaching This experience, designed to be self-perpetuating, should permit this craft to continue both within and without the IN. References [1] Fred Smeijers, Counterpunch, Hyphen Press, 1995. [2] Christian Paput, La lettre—La gravure du Poinçon typographique, édition bilingue Français- Anglais, TVSO éditions, 1998. [3] Christian Paput, Vocabulaire des Arts Graphiques, de la Communication, de la PAO, etc., TVSO édi- tions, 1997–2002. [4] Le Cabinet des Poinçons, Imprimerie Nationale, 1963. [5] Les Caractères de l’Imprimerie Nationale, Im- primerie Nationale, 1990. TUGboat, Volume 24 (2003), No. 3 — Proceedings of EuroTEX 2003 313.
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